Интерференция повествовательных инстанций в романе Б. Пастернака "Доктор Живаго"

This article is devoted to the analysis of the interference of the narrative instances in Boris Pasternak's novel. The combination of the hero's and narrator's points of view is observed in a special type of the intrigue configuration. The plot of the novel includes a series of episodes that describe the protagonist's transition states such as swoon, dream, creative act, meditation on phantasms, hallucinations and visual images. Such metadiegetic fragments (Gerard Genette's term) interrupting the row of events in the fabula are accompanied by transformation of the ‘objectified' narrative into the ‘personal' one. This change is marked by constructions ( ‘kak legko sebe predstavit', ‘zdes byla udivitelnaya prelest' ) that locate the subject's presence ‘right here and now'. Syncretism of the conceptual horizons can be explained by the fact that liminal episodes which manifest the hero's shift from current reality to otherness are the variants of one tragic prototypic event of a person's correlation with superpersonal destiny expressed clearly in “Garden of Gethsemane”. Another type of interference can be found in the composition presentation of narration. Narrative modalities of knowledge and opinion are interacting in the narrator's conceptual horizon. In some cases, the narrator prefers to mark subjectivity by words like ‘ kazalos', ‘budto', ‘mozhet byt'. In other cases, he uses the tradition of the ‘resume' of the novel that emphasizes the author's supercompetence. In this regard, two principially opposite ways to end a chapter are observed. The first way is give a review of events of the chapter and the second way is to leave uncommented characters' remarks, dialogues, monologues and texts. The rhythmical interchange of ‘openness' and ‘closedness' of the discourse shows the architectonics of convergence and dialogue and the narrative strategy of understanding.